Tag Archives: Festivals

As the new academic year begins here at University of Salford the grinding of gears can almost be heard on campus as green areas and buildings are being smartened up in anticipation of new and returning student cohorts.

I’ve just come back to the grey and rainy North from a weekend spent camping at End of the Road festival, which has been one of the last reliably sunny outdoor music festivals of the season for the last ten English summers, but to balance the sadness at the thought of no more nights under canvas until next summer, the season for urban indoor-based events is picking up. In fact, autumn looks set to be the festival highlight of the year!

Right now there’s a national month-long festival of independent and repertory cinema underway, thanks to the organisers of Scalarama, now in its fifth year and still growing.

This year independent screening groups, film clubs and cinema enthusiasts in a number of cities formed festival sub-hubs to collectively co-ordinate their programme contributions.

This has been a brilliant and (in Leeds) unprecedented way to bring a disparate group of film exhibitors with very different aims and practices around a table regularly to meet each other, start a dialogue and share knowledge. New partnerships and future plans have emerged from this process and as we look forward to Leeds International Film Festival in November, there is a sense that this year, when the festival closes, there will still be plenty going on in the city to sustain a truly independent film culture year-round.

I’ve contributed two documentary films to the Scalarama programme this year. On Wednesday 16th September there’s another screening of the 2013 documantary Manakamana to raise money to send to a Nepal rebuilding project. The documentary, directed by Stephanie Spray, Pacho Velez, was made in the Manakamana temple area by a group of ethnographic filmmakers who are part of the Sensory Ethnography Lab at Harvard University. The work of this practice-as-research centre is characteristically immersive and this film is no exception: a 16mm camera was placed in a cable car that transports worshippers up and down a mountain to a remote temple. It is a journey that prior to the development of the cable car service took many days and the people caught in the intense gaze of the film reflect on this and other things during their journeys.

The film makers set up a crowd funding campaign earlier this year to send assistance to the village where they were based during filming after the terrible earthquakes and with the help of the film’s UK distributor Dogwoof, some colleagues and I have been able to screen this film several times this year to send the door money to the film’s participant community via that fund.

Then on Thursday 24th September I’m joining in with a simultaneous screening across 6 UK venues with two films that look closely at protest, direct action and freedom of speech in the UK. One is a short documentary by Nick Broomfield about six Greenpeace protesters who in 2008 were tried and acquitted for shutting down Kingsnorth power station in the UK, the other is Franny Armstrong’s film McLibel which is rarely screened but is a remarkable story about two protestors who were charged with libel by McDonalds after leafletting outside one of their shops, with surprising consequences.

This second film is also part of the #directedbywomen strand within Scalarama this year, drawing attention to the achievements of women in film, while women are still under-represented in most areas of film making practice.

The Radical Film Network have facilitated this second event and this group have been an important discovery during my PhD research that has helped me to put a critical frame of reference around a set cultural activities which I attempt to describe in my thesis as constitutive of a discursive public sphere. This is a lightweight, international network of film makers, exhibitors and academics which emerged from the Bristol Radical Film Festival (BRFF), it is the festival’s 4th edition this year, with all screenings taking place at the Arnolfini in October.

The 2015 festival is formally very different to the last one.
Last year the BRFF festival organisers set up some of their political film screenings in community centres, taking their message to areas beyond city’s usual centre of cultural consumption. This year the festival celebrates the 40th anniversary of The First Festival of British Independent Cinema, a landmark event in the history of alternative film in Britain, which was organised by the filmmaker, writer, curator and dramatist, David Hopkins (1940-2004) at the Arnolfini. The 1975 festival screened overtly political film alongside avant-garde and experimental work on 35mm and super-8mm formats. In true radical film tradition, a speaker from the festival will be at the screening to lead the discussions afterwards.

Inspired by the work I have encountered in my research, I have been able to bring many events from the BRFF and other festivals to Leeds through my own events series and my connections with the Leeds International Film Festival (LIFF). This year there will be a programme exchange between LIFF and BRFF, they have suggested a rarely screened, collectively-made film from 1974 which puts into practice the tenets of feminist film theory, however the title can’t be revealed yet! The LIFF programme launch is on Light Night, Friday 9th October at Leeds Town Hall.

A film festival event in November that I can announce is a collaboration with Dr. Emily Zobel Marshall, a researcher at Leeds Beckett University. We have placed a film screening simultaneously in both LIFF and the national Being Human festival of the humanities, all Being Human events are between12 and 22 November 2015.

La Rue Cases-Nègres (Black Shack Alley) is the title of a book by well-known Martinican writer Joseph Zobel, the story was made into a film in 1983, directed by Euzhan Palcy. In the year of its release the film was awarded Silver Lion award at the 1983 Venice Film Festival and the director won a César Award for Best First Feature Film, making 25 year old Euzhan Palcy the first black female director of a Hollywood film.

The film transports viewers to 1930s Martinique, an island under French colonial rule, when poor rural black children can hope for little more than a life of back-breaking working in the sugar cane fields, working for the wealthy white béké, or boss. Young Jose escapes this fate and gains an education through the many sacrifices of his extraordinary Grandmother.

The film will be introduced by Joseph Zobel’s daughter, Jenny Zobel, and granddaughter, Emily Marshall, a researcher in literature and post-colonial studies who suggested the title to me.

The screening and its contextualisation through the introduction and discussion will hopefully start a conversation about colonialism, oppression, resistance and the importance of education. The Being Human festival is one of a number of festivals organised by universities which I’ve become aware of through my research that are committed to showing the strength of humanities research and teaching at a time when the study of humanities subjects is being politically undermined.

Manchester Metropolitan University’s Helen Malarky and Professor Berthold Schoene manage a ‘festival of the humanities’, held in Manchester, called Humanities in Public, which started in 2013 as a year-long public engagement initiative aiming to reach people with no experience of higher education but who may be interested in what higher education can offer. In this guest blog for the Being Human festival, they explain: “we didn’t want our public engagement efforts to be seen as a way of ‘saving’ the humanities. As far as we were concerned, the humanities did not need saving. They already had what it took.” They celebrate the work being done at MMU and want their staff to share it with the public.

The HiP festival is made up of themes, each of which involves a short series of events ranging from evening talks, exhibitions and interdisciplinary seminars to off-campus activities such as city walks or tours of buildings, pub quizzes and film screenings. The university has developed many new cultural partnerships through this festival and researchers at Faculty of Humanities, Languages and Social Science have produced vast amounts of original work. The faculty recently took on the former Cornerhouse facilities nearby, where some of the events will be happening and it all kicks off next month.

So with such a range of events I’m going to have plenty to keep me busy in the evenings, my days are now filled with writing writing writing as the three years of PhD are nearly up! I hope this post has given a flavour of the sorts of cultural events I’ve been studying and why they matter, now to make sense of everything I’ve encountered along the way.

There is already an excellent and comprehensive overview of the day here written by PhD researcher Rachel Marsden, who took the photo above, but for the benefit of the Cultural Intermediation project, I have written my own overview of the day’s speakers and discussions, concentrating on some of things I found most interesting. Ways that individuals negotiate issues of structure and agency while engaging in university-based cultural production forms a big part of my own research, and this day also highlighted examples of this.

The legacy project runs from Feb 2014 to June 2015 at University of Sheffield, with partners in Manchester and Leeds, and explores the legacy of the AHRC/ESRC funded Connected Communities programme. The research already carried out in the Connected Communities programme has been strongly community focussed and much of it has been co-produced with local communities and groups of non-academic practitioners. The methods or modes of enquiry developed and employed have included some innovative artistic practices combined with social science methodologies. This particular part of the legacy project, which has the title Artists Working within Higher Education, has looked at 60 of the Connected Communities projects (out of a total of around 250) in which academics and artists have worked together to realise ideas in imaginative and participatory ways, and today’s event here was organised to disseminate some of the findings so far. Out of these 60 projects, in which artists have done things like run workshops, contribute to journal articles and book chapters and facilitate parts of projects and produce work that draw on their unique strengths and skills, 9 cases have been researched ‘in depth’ with the aim of understanding how existing and emerging ways of working across disciplines and in collaboration with non-HEI partners may be changing the research terrain.

The choice of space for this event reflected this ambition too, as it was not a University-managed space but the ’empty’ top floor of an eight storey former office building with a screen and projector, a kettle and lots of folding chairs. Federation House is a large building close to the Victoria Station in Manchester, on the corner of Federation St and Balloon Street. I have always liked the name Balloon Street, its name refers to the first balloon ascent made in Manchester by James Sadler in 1784! The street is also home to the headquarters of the Co-operative Bank, in fact the Co-operative Group (formerly the Co-operative Wholesale Society) have been based in this part of Manchester since the late 19th century and Federation House is one of their unoccupied buildings currently being used by Castlefield Gallery as a ‘pop-up’ project space.

More than just a gallery, Castlefield Gallery has also been working as an art space development agency since 2006, brokering low cost project and gallery spaces for artists and creative practitioners in shopping centres and empty buildings in the North West of England, an initiative that goes under the heading New Art Spaces.

Castlefield Gallery’s director Kwong Lee gave a quick welcome in which he mentioned this initiative, then legacy project co-investigators Kate Pahl and Steve Pool introduced the day, beginning with an outline of the Connected Communities programme which seems to get more complicated every time I see someone attempt it! Kate went on to say that some of the individuals who have been involved in this legacy project describe themselves as artist/academic ‘hybrids’ and they recognise that their outputs will face different audiences. A slide in the introductory power point mentioned that amongst emerging issues in this project was the notion that as co-investigators, artists felt they have to ‘lose something’ in the process of collaboration, which provoked an immediate intervention from an audience member, an artist, who asked should that be ‘gain’ also? And another asked if artists felt that they lost something in collaboration with higher education, then what did academics ‘lose’? In this way a discursive tone for the day was set, as Kate, encouraged by the intervention, explained that as the day’s sessions would be recorded and these discussions would contribute to the research project.

The first speaker on the programme was Jeanie Scott, representing A-N Artists Information Company, which is now a membership organisation for visual artists dedicated to research, advocacy and support for the sector. The company used to produce Artist’s Newsletter magazine, a valuable guide to issues and developments in the arts scene. It’s been a while since I’ve seen a copy, but this trusty journal used to be a must-have subscription for arts developers and practitioners while I was working in the cultural sector. Concerned with what the employment options currently are in the visual arts sector, particularly for the 4,500 new graduates entering a workforce where long periods of unpaid labour are now the norm, the organisation has recently been involved in the Warwick Commission’s Cultural Value project (whose report came out yesterday).

Jeanie talked us around this fascinating map of The Ecology of the Visual Arts produced by Emily Speed

This was commissioned by A-N in 2013, here the arts sector has been imagined as a city and its constituent groups are represented by buildings. Interesting how the word ecology seems to be replacing the word economy in documents dealing with cultural policy.

Next, Professor Vanessa Toulmin talked about University of Sheffield’s Festival of the Mind, a festival that fitted the criteria for my PhD research so well that I now wish I had been able to include it in my fieldwork last year. Taking notes during this personal summary was the next best thing, though, as Vanessa included a huge amount of self-reflexive commentary in her presentation, something I have been seeking in my interviews with festival organisers. She is an academic and a historian, specialising in early film, circuses and travelling and fairground entertainments. She is currently Director of the National Fairground Archive at the University of Sheffield and also worked for a number of years on heritage and regeneration projects with Blackpool Council. It was the idea of “city vibrancy” demonstrated by this work with Blackpool that she told us she had used as the argument to access £35,000 worth of free venue space from Sheffield’s local authority for the Festival of the Mind in 2014. Bus and train sponsorship followed, as the event took place in fresher’s week to offer newcomers to Sheffield “a curated way of knowing the city”.

She spoke at length about how further in kind contributions were leveraged and how she believes she gets things done by working strategically through all levels of the university and using the procedures already in place, but I’ll leave all that for my thesis and concentrate on the bits about the role of artists here. 30 new commissions were funded and through this, the festival’s public content was produced. Artworks and installations were made by artists working in collaboration with academics from the University of Sheffield, with many of the connections linking arts practices with scientific researchers. To start the ball rolling, a speed dating event took place on a specially hired bus, with tea and cake laid on for successful ‘matches’ to sit down and work out their ideas together. Vanessa modelled the way the commissions worked on her own experience of working with sculptor Anthony Bennett. With a background in entertainments rather than arts (an important distinction that is sometimes not clearly articulated, I think) she found that the artist’s ways of working were a “new world” to her, but it seems that she stayed at arm’s length and allowed the practices to evolve. She also believes these projects brought back “the joy of discovery” to scientists who it turned out were not at all reluctant to get involved and even built in funding for some of the projects into their own bids. Money for arts projects is “peanuts” compared to the sums they usually bid for, she explained, they were used to dealing in bigger amounts than the festival’s entire budget. As a result of this big drive for engagement in the run up to the 2014 festival (it’s third edition and it seems, was the biggest so far) it would appear that the entire science research programme now builds funding for engagement into all their bids and University of Sheffield is a Catalyst University for Public Engagement with Research. Sheffield doesn’t want to be “the university on the hill”, she said.

Next James Oliver from the Centre for Cultural Partnerships, University of Melbourne, led a short, discursive session before lunch that took as its starting point something a previous speaker had said: ‘everything is related’. He wanted us to think about how relations are frequently unequal, reading a line from a letter to Marx from Engels sent during his time spent in Manchester about ‘dialectical ideas’. Binaries are unhelpful, James said, like the way cultural and creative work becomes labelled as practice-based or theoretical in hierarchical relations within academic discourse. Practice was a way to think-through problems and creativity should not be thought of as simply innovation or as a way to ‘translate’ social science, but a “mode of imagination and improvisation, which is open to other ways of being”. Durning the discussion which followed, a comment from a practicing artist was interesting, as she had been artist-in-residence in an archive project within a University department which is one I have encountered as part of my fieldwork.

As an artist working with, or alongside, different groups in a university setting – including staff who weren’t academics and students – “your status is unclear” she said. And while it is common for art to disrupt the brief it has been set, she wondered how the artist’s role is constructed prior to the residency and suggested that if the artists don’t conform to expectations, where does that leave the commissioner? I understand the problem and I agree that the production of art is a disruptive process and one that often takes critique as its central project, but as institutions are not keen on being made to feel uncomfortable, there are limits to autonomy which are often experienced in self-reflexive, internalised ways.

The discussion moved on to the subject of the project-based model in which most of the Connected Communities work has taken place, with many comments about low pay and precarious employment from artists and academics alike: “How are we affording the time to be here today?” and “We are talking to ourselves most of the time”. Vanessa made an interesting point, suggesting that “most academics don’t know how to pay artists”. She had been surprised by how much the artists in the Festival of the Mind project expected to get paid varied, which isn’t the case in the entertainment industry as it uses Equity pay levels as basis for a pay system.

The afternoon sessions seemed to take the works of art themselves as the focus for the talks, starting with artist and Professor in Creative Practice Steve Swindells’ talk, from the perspective of Huddersfield University, about what it means to be an ‘engaged artist’ working within an ‘engaged university’ in a town rather than a city. Creatively engaging individuals from the local community using dialogues that involve art practices and occupying spaces in the town is the idea behind the present ROTOЯ partnership which he has developed between Huddersfield Art Gallery and the University of Huddersfield. He describes it as a mutually beneficial relationship that showcases research by academic staff in the faculties of art, design and architecture. Steve mentioned a recommendation of the 2014 Farrell Review of Architecture and the Built Environment, which was “Every town and city should have an urban room where people can go to understand and debate the past, present and future of that place.” Urban rooms, already popular in Japan and China, would help to bridge the gap between architects and the general public and are places where the history of and future plans for the area are displayed and discussed. In the ROTOЯ project, work was exhibited in Huddersfiled that had been made in the town, but had previously only been shown in national and international venues. The project outputs include this published collection of critical essays and we heard that the ICA in London are also now partners in the project.

Finally Sheffield-based artist Paul Evans talked about being the recipient of a grant from the Leverhulme Residency Programme which allowed him to develop new work with an academic partner. Paul is interested in exploring the cultural significance of animals, with a particular interest in whales, so the grant enabled him to make a series of artworks based on 10 months spent in the Cardiff Osteological Research Group’s bone room at Cardiff University. While this was an experience he had clearly enjoyed, it was interesting that he mentioned in this presentation that the Leverhulme Trust was established by William Hesketh Lever, the founder of Lever Brothers (now UniLever). “It’s important to know who you’re in bed with” he said.

Paul’s work in Cardiff was mentioned in the Osteological Research Group’s 2014 REF impact case study in which he is quoted as saying “My collaboration with Dr Mulville and Guerilla Archaeology has had a substantial impact on my professional practice”, which is something that is also important to the legacy project.

The arts practice and co-production methodologies discussed here have illustrated a range of ways of working, but what I am interested in is how an artist’s autonomy fits with and complements an institution’s own objectives. All of us want to practice according to our values, which leads inevitably to conflicts of interest, so who is it that changes their approach or ‘loses something’ and what is losing something worth? Chantal Mouffe has this to say on strategies for hegemonic resistance in the domain of art and culture, which is where subjectivities are constructed:

‘Critical artistic practices do not contribute to the counter-hegemonic struggle by deserting the institutional terrain but by engaging with it, with the aim of fostering dissent and creating a multiplicity of agonistic spaces where the dominant consensus is challenged and where new modes of identification are made available.’ (Mouffe, 2013, Artistic Strategies in Politics and Political Strategies in Art)

(James Oliver also made reference to Chantal Mouffe and agonistic pluralism in his talk)

In contemporary, post-fordist conditions, where according to Mouffe “forms of exploitation characteristic of the times when manual labor was dominant have been replaced by new ones”, the objective of critical artistic practices should be the production of new subjectivities that contribute to the development of better social relations. Her comments aren’t specifically directed at the context of artists working with universities, but it’s the spirit of the argument that seems to fit.

While understanding the reasons why some prefer to advocate complete withdrawal from the existing powerful and hegemonic institutions and concentrate their efforts in constructing alternative social forms, Mouffe’s strategy is one of engagement with institutions as part of resistance to them. Believing, like some of today’s speakers, that the institution can be changed from within, she says “hegemonic confrontation” takes place in “the multiplicity of places where hegemony is constructed” implying that critical artistic practices will encourage agonistic spaces to occur inside the very institutions which secure the dominant hegemony, in the hope they can transform the way they function. It’s a pluralistic perspective that I think emerges repeatedly in Connected Communities projects, and while not all participants in the 250 projects (and counting) are obviously in pursuit of radical political change, the project is finding ways to hold onto individual differences, articulate them, value them and find equivalence among them.

Find out more:

Co-producing Legacy is led by Kate Pahl (School of Education, University of Sheffield), Helen Graham (School of Fine Art, History of Art and Cultural Studies, University of Leeds) Steve Pool (Artist) and Amanda Ravetz (Manchester School of Art)

Contemplating the role of Universities as intermediaries in the cultural economy has become increasingly bound up, for me lately, with theories of institutional power and social influence. Exhibitions can be interpreted as a specific form of cultural production that Bennett (1998) understands as as sites of top-down flows of hegemonic power, something similar to Foucault’s strategies of micro power in his notion of governmentality. Institutions in the public cultural campus or ‘culture complex’ operate, in Bennett’s view, as ‘working surfaces on the social’ through which a kind of public organisation is sustained through the assemblage of objects and discourses within.

Many universities in the UK have a gallery space on their campus and in previous posts on this blog and my own I have mentioned other events at similar university spaces, for example at Lakeside Gallery at University of Nottingham and the Barber Institute at University of Birmingham. Although originally established in the 1970s, the S&AB gallery underwent major programmes of expansion in 1998 and again in 2008, funded first by HEFCE and then with private funds from long-standing friend and benefactor of the University, Mrs Audrey Burton, to become the welcoming and versatile art gallery and display space it is now.

Last year University of Leeds launched an art prize and special exhibition for recent graduates from its undergraduate Fine Art and Design programmes, supported by the Friends of University Art and Music-Leeds (FUAM) of which Mrs Burton had also been an Honorary President. This competition is one of the gallery’s current exhibitions. In the Education room at the other end of the long space is an exhibition of letters and greetings cards sent by Sir Herbert Read in the years after the Second World War, many of which belong to the University’s Special Collections, which houses Read’s archive. This IN FOCUS talk has been organised in conjunction with Special Collections, which are housed in Brotherton Library, the same building as the gallery.

The legacy of Sir Herbert Read (1893-1968), art historian, critic, knight (“services to literature”), anarchist, is currently experiencing some favourable attention. A new film, an immersive study of his life and work has been made by Manchester-based film maker Huw Wahl, supported by the Arts Council. The film is called To Hell With Culture, its provocative title comes from an essay by Herbert Read, originally published in 1941. The son of a farmer in the North Riding of Yorkshire, as a young man Read served in the First World War, rising to the rank of captain and receiving the Military Cross. Later he became known as a poet, an influential art critic, curator at the Victoria and Albert Museum and a committed anarchist. He wrote extensively on art history, theories of art and their importance to society. He co-founded the ICA in London in 1946 and also controversially accepted a knighthood in 1953. He was a modernist, championing the affective and symbolic qualities of art, from ‘primitive’ forms and cave paintings to abstraction and surrealism. The University of Leeds acquired Read’s library, including many rare and personal items, with the help of a Heritage Lottery Fund grant in 1996.

In 1912 he had enrolled at University of Leeds to study Law and economics, but he went to the front and returned profoundly affected by his experiences. According to Glyn Thompson, for a time in the 1920s, Read was Britain’s best recognised war poet.

Of the items made available for handling or at least taking a closer look at during the IN FOCUS session are two that are of particular interest to the speaker Glyn, who completed his PhD at the University in 2008 on Marcel Duchamp’s ‘art’ practice, or perhaps it is rather more accurate to say his way of articulating meaning.

Read had in his collection a ‘Green Box’ (edition of 320 copies) from 1934 and an exhibition catalogue ‘Le Surréalisme en 1947′ that accompanied the Exposition Internationale du Surréalisme, organised by Duchamp and André Breton at the Maeght Gallery in Paris, July–August 1947. The exhibition catalogue has a false breast on the front cover, mounted on a piece of velvet (we are told that the last one sold for $254,000).

The Green Box (pictured left, also known as The Bride Stripped Bare by her Bachelors Even) contains 94 individual items mostly supposed ‘facsimiles’.

Glyn talks about an outpost of surrealism that existed in London in the late 1930s, on Cork Street, particularly the Guggenheim gallery. This was where the elite of modernism from Britain and France exhibited and ‘hung out’. Herbert Read was part of this set, he was friends with Peggy Guggenheim and Roland Penrose. With the latter he co-founded the ICA in the centre of London, which opened in 1947, to showcase and champion contemporary culture across a wide range of art forms. Details of their first exhibitions can be found here.

Read used his influence to champion the work of Yorkshire artists Henry Moore and Barbara Hepworth. Perhaps he was a cultural intermediary of his time, framing what was available through the use of cultural and social capital and leveraging credibility in networks that connected culture and society?

That would be a good topic for a future talk, but let me return to the one I was here for. Glyn’s talk aims to ‘disrupt the master narrative of Duchamp’, which he explains is commmonly held to be as the grandfather of modern art and the pioneer of art as ‘interruption of the normal’. This art was made exclusively for members of the elite, as work of allegory and rhetoric. “Articulating esoteric subject matter”.

Duchamp translates information into ‘things’. Glyn says Duchamp’s work is simply a form of embodied meaning. The meanings are encrypted, you have to “do archeology to it” to understand it from the point of view of its circumstances of production. Duchamp’s pieces are “pretexts of erudite discourse”. You have to know the content to appreciate the object, and decoding the elaborate symbolism of a work to receive its message requires interpretative reading.

In Glyn’s analysis of the exhibition catalogue, the square (on the back) and the circle (the false breast) stand for alchemy, while The Green Box is emblematic of The Emerald Tablet, a sacred text of alchemy and hermeticism.

An emblem comprises three forms of simultaneous representation: the visual (superscript) the motto (subscript) and translation (glossing text), so Duchamp’s work is that, rather than an artwork. Sans le saviours. The common herd is not supposed to understand.

Perhaps the multiple readings that are possible of the work of Duchamp and some other surrealists is something that McGuigan’s (2005) work on cognitive and affective communication could be productively applied to, because I although I can’t read their erudite discourse, I nonetheless enjoy the startling and disruptive appearance of readymades and surrealist objects when I encounter them in a gallery. Regardless of this, it is whether the influential circle of Read and his contemporaries gave this art its credibility in London and also in Leeds, via links with the University’s elite community, that is the real issue that I need to keep addressing when it comes to my own work on Universities at cultural intermediaries.

There are couple of opportunities to engage with some of these themes coming up in Leeds this month.

Next Monday, 10th November, the 28th Leeds International Film Festival screens the film To Hell With Culture at 8.30pm and I’m chairing a panel discussion following the screening which will reflect on how Read’s ideas can be applied to contemporary society today. That this takes place at The Hyde Park Picture House, which belongs to the same era as Read (it first opened in 1914), is a happy coincidence!

I have also co-ordinated two additional events taking place at University of Leeds on Wednesday 19th November in conjunction with this screening:

Tour of the Herbert Read Collection, The Brotherton Library, University of Leeds, Weds 19th November, 4-5pm

Richard High leads a guided tour of Herbert Read’s Library and Archive, now housed within the University of Leeds’ Special Collections in the Brotherton Library.

Fiona Becket, Hannah Copley, Jon Glover, Ragini Mohite, Emma Trott and John Whale read from the poems and other writings of Herbert Read, including materials held in the University of Leeds archive.

To book, email gallery@leeds.ac.uk or tel: 0113 3432778

Glyn Thompson has just curated an exhibition called Educating Damien at the Tetley in Leeds, drawing on lecture notes and slides he used when he was teaching History of Art to Damien Hirst on the Foundation Course at Jacob Kramer College in Leeds, during the academic year 1983-84.

These are being shown alongside a series of drawings made during that year by members of Hirst’s cohort and together they form a unique insight into the art education of a major figure of the ‘Young British Artists’ generation.

On Thursday 8th January Glyn Thompson also gives a public talk at the gallery.

___________________________________

Ref:

Bennett (1998) Culture: A Reformer’s Science

McGuigan (2005) The cultural public sphere. European Journal of Cultural Studies, 8:4, 427-443

The University of Birmingham Arts & Science festival, now in its second year, ran for a week from 16th – 23rd March 2014.

The festival was described as “a week-long celebration of ideas, research and collaboration across campus” and as my research looks at the cultural festival and how universities are engaging with it, I went along to a few of the events to see was happening.

The 1960s Art & Architecture walking tour of Edgbaston campus was part of the Arts & Science festival’s programme, presented in partnership with Ikon gallery’s Ikon 50 programme, a special series of events and exhibitions marking the gallery’s ‘milestone year’.

Last Saturday afternoon at 1pm, a group of around 25 people converged in the sunshine at Eduardo Paolozzi’s huge bronze Faraday sculpture at the edge of the campus. Claire Mullet, Deputy Curator of Research and Cultural Collections at University of Birmingham, and one of the collections’ other curators, Chloë Lund, met us there. Claire explained that the University’s Research and Cultural Collections contain around 1,500 objects and artworks, many of which have been commissioned by the University and many acclaimed artists have leant or donated important pieces. This collection is separate to the Barber Institute’s collection and much of it is exhibited in the departments and public spaces around campus.
So began a fun two hours or so of discovery within the campus boundaries!

Now, I am a veteran of many public walks and have a great enthusiasm for them, so it came as no surprise when within minutes the sunshine was replaced by a sudden hail storm – this seems to happen all the time. Claire was prepared and undeterred, and from under a frilly umbrella she described the circumstances in which the 1970 Barbara Hepworth sculpture Ancestor I (pictured right) was bequeathed to the University by the sculptor, following the award of her honorary degree in 1960.

Thankfully, we were then lead us inside Staff House and into the warm. It is worth mentioning that the University boasts a huge amount of astonishing and extraordinary spaces within its buildings and the top floor of Staff House is definitely one of them. At the top of this building, almost hidden away in a corridor with an elegant roof that floods the space with natural light, is one of the most notable works of the tour, a framed blue abstract painting by Robert Groves. He was one of the Ikon’s founding group of artists and the man who gave the gallery its name in 1964. We had to take turns to see it, there is only room in front of it for a few people to stand.

There are many other wall-based art works on display in this building, one particularly notable one is a huge John Walker canvas called Anguish at an intersection in the stairwell.
While we stopped to admire it, Claire mentioned the artist’s connection to Birmingham and Chloë offered a more personal observation of how the piece visually fits with the space where it is presently hung.

Next we headed across an open space to the Finance office and clustered around a really unusual piece of public art, situated in a less airy stairwell.

The legend attached to Anguished Skein by Patrick Maher, a ‘punk orange’ painted metal squiggle, it is incredibly significant to the tour, as it turns out the piece was commissioned for the University’s former Finance Officer, Angus Skene, a ‘character’ who was also instrumental in setting up Ikon gallery. Angus was a collector of contemporary art, he and his partner donated a large amount of money to start the Ikon gallery and he urged the University to make funds available for commissioning and collecting work from this period and investing in public art around campus. It is likely that his story is pretty fundamental to the University of Birmingham’s Research and Cultural Collections and one member of University staff I spoke to was certainly interested to hear the story behind a piece of sculpture she sees frequently. But soon we’re off again, this time to the Law building, to see Moonstrips Empire News (1967), a collection of up to 100 screen prints installed in the entrance lobby to the Law building and the stairs leading up to the Harding Law Library.

The recent refurbishment of this space combined a £4000 grant from the School of Law and Claire’s own vision for the space, she explained that the bold colour scheme was designed specifically with the work in mind. The investment in the space created a serendipitous opportunity to have the work that had already been adopted by Research and Cultural Collections properly framed and mounted so that it could be displayed publicly.

The combination of colourful elements sets up an excellent and very pop-arty juxtaposition between what was probably a neat but stuffy institutional lobby and the riotous colours, kitsch and logos of the 1960s prints. It is a complete surprise, it works and I love it!

As we left the Law School it was nice to see that the sun had come out again. Claire explained that it is not only 1960s art that the University could offer to Ikon on this tour, but examples of architecture too. The Grade 2 listed Muirhead Tower could be seen from here, somewhat dominating the campus, and this is one example of these. It was built in 1963, although it was modernised with a £27 million refurbishment in 2007. Chloë adds that in the early 60s the university experienced a big expansion in student numbers. This must be the 1963 Robbins committee report on higher education that I have already read about, in which it was suggested that universities should become more democratic, with places available to all who attained the relevant qualification for them. The expansion led to a new phase of building and consequently a new style of architecture appeared on campus.
There are other examples of 1960s building directly next to the Muirhead Tower, but just before we set off towards them, I notice a poster for The Handsworth Scroll on a pillar next to where we are standing.

The Handsworth Scroll is an item from the CCCS archive that was on display earlier in the festival, in fact the festival guide listed that event alongside today’s walk.

Claire tells the group that the Centre for Contemporary Cultural Studies (CCCS) resided for many years at the Muirhead Tower. There is currently an AHRC funded project at the University to mark the 50th anniversary of that institution and the Arts & Science Festival presented John Akomfrah’s new film The Stuart Hall Project (read my review of the film here) this week too.

At this point, a member of the group mentions another 1960s related event taking place on the following Saturday at The Library of Birmingham which is also part of Ikon 50. Those Were The Decades is a day-long event with an Illustrated talk about the CCCS by Dr Kieran Connell, a panel discussion on Ikon in the 1960s with John Salt, the first artist to exhibit there, plus other events including film screenings of Motorcity Music Years: Second City Sinners (1992) and Medium Cool (1969) – this 2nd film is part of Flatpack Film Festival‘s programme.

This had become a truly fascinating walk, connecting so many of Birmingham’s cultural organisations and innovators to the times when these things were made and revealing some of the cultural developments that link them together. We still had a couple more places to see too, so we headed to the Arts building to look at one of the last major commissions by Cornish modern painter Peter Lanyon. His ‘Arts Faculty Mural‘ (1963) fills the whole of one wall inside the school’s lobby and extends up over the door. It was imagined as an abstract representation of elements of the campus that could be seen from either side of the lobby and it is reported to have cost £13.23 per foot. This expense had provoked some opposition at the time it was made, as quotes from Redbrick, the university’s own newspaper, confirmed. Claire had prepared many of these sorts of notes and had also printed out pictures to hand round, all of which added extra context to what we observed.

Next we were taken to see the prefab Modern Languages building, built using innovative methods for its time, with a surprising, elegant interior space and so much natural light!

We ended our walk at the Metals and Metallurgy Building situated at the North of the campus, looking at a set of reflective grid paintings with geometric shapes painted onto mirrors by David Prentice, another of Ikon’s founders. This work, Pleides, was commissioned and designed especially for the building, which is built as a grid itself (below is a picture of the ceiling at the Metals and Metallurgy Building).
This tour was completely fascinating (and free, as was much of the Arts & Science festival programme!) Claire and Chloë provided ongoing, valuable contextual information, helping us to understand some of the hidden meanings in the buildings and art that we saw. Writing about it has also made me wistful for something else that I’d really like to see, but never will to be able to: Ikon’s first home, the glass-sided kiosk in the Bullring shopping centre.

Created to be mobile and ephemeral, a so-called ‘Gallery without walls’ – would it be have been called a ‘pop-up’ gallery, today, I wonder?

I first started to think about the democratic potential of Kickstarter’s funding model in February 2013 at FutureEverything, Manchester’s annual festival of ideas.

The crowdfunding website was established in 2009 to connect people looking for project funding to people looking to invest, launching in the UK in November 2012 (using £ not $). It is not the only one, but I’ll use it as a generic model just for now. The rewards for investing are negotiated into a number of different options (from a free poster to advance access to products to exclusive one off experiences) and the model appears to work well for the creative industries: films are currently the 2nd most popular category of project funding after music.

Stephanie Pereira represented Kickstarter at the Manchester conference, speaking in the ‘Platforms’ session which you can see on Vimeo here(her talk starts at 16.00). She suggests that the company provides a “creative ecosystem” for creators and that the 60 or so Kickstarter staff are themselves a community of “artists, designers… philosophers”. However, it was her suggestion that when creatives like games designers use Kickstarter, they are effectively working directly for their fans, that got me thinking about how ‘pay it ahead’ models have a role in connecting communities in the creative cultural economy. This was something to be explored further – and what better way than to have a go? (This is my usual response to most things!)

I’ve been following campaigns around factory farming issues for some time, so when news of a low budget UK film about an organic dairy farmer in Sussex started appearing in tweets by Compassion in World Farming and WSPA I backed it on Kickstarter to help the film maker fund a professional UK cinema launch.

The distribution system for new and specialist films in the UK is currently one of the sub-themes in my PhD. The US movie industry has had a terrific monopoly for many years over what UK audiences get to see in cinemas, historically this has been a problem almost all European countries and affects the circulation of non-American films and their domestic film industries (for some jaw-dropping history on the US cultural mission in the 20th Century, check out this book). Independent film distribution in the UK is supported through film policy in a number of ways, but cinemas still need people to buy tickets if the screenings are to be viable. If a UK film gets distribution, even if it has done well at festivals – as this one had – being able to provide posters, a press campaign and extras such as special guests to support a booking makes a cinema manager happy. The Moo Man film was trying to raise £5000 for such things, including the travel costs of the guests. When the campaign ended, I was pleased to see that they had exceeded their target!

This is where for me, the sense of community can be found in crowd-funding. It comes from knowing that my small pledge and those of hundreds of anonymous, like-minded people had made something tangible happen. Very tangible, actually, as the film was then booked by my local independent cinema and I was able to host the Q&A with film maker Andy Heathcote and farmer Stephen Hook (sadly no cows were available for the date).

This offered another perspective on the community outcomes of the campaign as on a sunny Bank Holiday afternoon in Leeds, about 50 people came to the cinema to see the single screening of this very specialist film and we had a milk tasting and chat afterwards. Puts a new spin on ‘taste communities’, too, doesn’t it?

The other day I was at a symposium at Leeds Metropolitan University called ‘Protests as events/Events as protests’, listening to the dilemmas of some academics who are or have been activists and how they consolidate these different identities in their jobs and research.

The opening address was a conversation between Dr Ian Lamond of Leeds Met and Dave Webb, Chair of UK CND and they discussed how they first became politicised, how this had affected their careers, up to the point of where they were today. Dave offered a useful insight from his many years of experience at CND: “Sometimes there’s a mis-match between what the public perceive you’re doing and what you think you’re doing” he said, “and you don’t know how much your organisation has achieved because you’re too close to it”.

Over the last few weeks I have also discovered that reading for my PhD is actually more productive when I’m on a train. I’m putting this down to the possibility that when I’m among strangers and in strange places, perhaps I feel more in the world so that I can think about it from the point of view of others. All of this, I hope, will be helpful!

I also recently presented at my first ever conference. I made a Pecha Kucha entitled ‘The Role of the University in the Cultural Economy’ and presented it in Salford at the SPARC post-graduate conference on the subject of Theory, Practice, Impact. I found that the ’20 slides, 20 seconds each’ format was a great way to condense academic waffle into a fast paced and fun performance (I even won a prize for it!)

Starting off with my current sticking point – ‘what is the cultural economy?’ and presenting to a non-specialist audience, I crammed in some basic ideas about whether culture means high art and civilisation or popular culture and commercial products, how the value of cultural goods can change over time and happens within an economy or eco-sytem that combines a mix of cultural and social exchanges with the production and consumption of goods, some of which have intangible and non-market values.

I went on to talk about how an economic system combining state-funded activities with commercial production and international business attracts plenty of debate around value for money and justifying public investment. Then I connected that subject of enquiry up with my other big topic – the role of universities in the cultural sector (and the coming of the REF), before suggesting film screenings as ways to acheive public engagement.

There was just enough time to mention bringing together different groups of people from on and off campus to exchange knowledge, ideas, culture and experience, and how presenting a series of film screenings could work to generate impact in my own research before my slides ran out!

So with public screenings in mind, I’m still looking around at what’s new in the world of film and I was really chuffed to finally get along to one of the leading documentary festivals Sheffield Doc Fest this year – a festival that has such close links with the Sheffield Hallam University that they run an MA programme together. Two standout films for me were the new documentary about Stuart Hall by John Akomfrah (2013) and From The Land to the Sea Beyond (2012 – a repeat of one of last year’s favourite events). This surprisingly moving film was made mainly from BFI archive clips of the British seaside and coastal industries, directed by Penny Woolcock, produced by Sheffield Doc/Fest and Crossover Labs and screened with a live score by British Sea Power.

The Staurt Hall Project film is brand new, was backed by BFI Film Fund (which is also run in conjunction with Sheff Doc Fest) and is meant to be coming out on general release in September, which will be especially significant for those at Birmingham University I expect.

Before that, however, for those of you in Birmingham there’s a great opportunity coming up this month to see the classic Murnau silent black and white film Sunrise: A Song of Two Humans (1927) presented by Flatpack Film Festival outdoors at mac arts!

In this film you can really feel the tension in American and European society at the time, perfectly summed up by a single tram ride that crashes two fairy tale worlds into each other – the luxurious, shiny depravity of urban modernity and a sweet, gentle agrarian home. It also had the best action sequences Hollywood could produce at that time, winning an award at the first ever Oscars for unique and artistic production, and I am assured that the screening will go ahead whatever the weather!

The last few weeks have been an exciting, stimulating and educational time for me as I have embarked on the early stages of my PhD journey, quite literally!

The first adventure was at the FutureEverything Summit in Manchester. Over two days of presentations in the rather impersonal Piccadilly 4 building, followed by an illuminated mass choreography down at Salford Quays, I experienced at close hand some pioneering work in the complementary fields of digital art, urbanism and technology. I even got to stand for several minutes in the dark inside the University of Salford’s own sound-proofed anechoic chamber in the Newton building, close to the SURF centre, listening to a processed audio installation, all part of the annual FutureEverything festival experience.

A theme running through many of the conference presentations was that of people re-appropriating frameworks and processes in order to ‘hack’ existing systems of urban living and develop smart and sustainable solutions to some of the problems created by cities. These interventions start with individuals using a combination of social media and public spaces to connect active citizens into responsive communities, where innovative and co-created practices can generate action. “In terms of organising and deciding” said Dan Hill in his keynote speech “the government now has competition”. Stirring stuff indeed.

The next day it was onwards to Birmingham, in search of more ideas and evidence to help inform the shape of my thesis, which currently looks at the role of universities as intermediaries in the festival economy. With visits to Bristol, Brighton and Bradford planned too, I was excited about having the opportunity to visit these great British cities and explore their civic architecture.

Last week in Brighton at the Beyond the Campus 2nd Workshop, Dr Paul Benneworth said “as social and spatial forms, buildings reflect their use”. He was talking specifically here about universities (with reference to Liverpool Hope University’s Cornerstone creative campus located in Everton) but it brought to my mind the words of walking urban historian Ben Waddington, who had revealed the psycho-geography of hidden architecture in Birmingham on his Invisible Architecture tour at the start of Flatpack film festival 3 weeks earlier.

Flatpack is an ambitious new festival in Birmingham that this year spanned 11 days in March. I went for the first weekend, my first event being the city walk. It was snowing heavily and freezing cold, but a crowd of 20 or so gathered at the Film Bug Hub, a vacant shop taken over by the festival team to house logistics in the Colmore Business District (one of the festival partners) to set out on the 90 minute tour.

Other partner venues I visited included Birmingham cathedral, in which I saw a screening of the silent Dreyer classic The Passion of Joan of Arc (1928) with piano score, a local café screening free short films in its basement and the recently restored Electric cinema by the station.

On Sunday I caught a bus over to the University of Birmingham’s Bramall Music Building to see the oldest surviving animated feature film The Adventures of Prince Achmed(1926) with live percussive accompaniment. This last event was a collaboration with the university’s new Arts and Science Festival, a public programme of exhibitions, talks, performances, workshops and screenings organised by the Cultural Engagement team which, in the words of Ian Grosvenor, Deputy Pro-Vice-Chancellor for Cultural Engagement “celebrates the University’s identity and makes available the first class research generated by one of the UKs leading higher education institutions”.

Back to Leeds to catch up on some sleep, but literally the next day I was off again, to Paintworks in Bristol this time, to hear brief updates from the latest developments coming out of the major AHRC community based research projects across the country, including news from the four AHRC research hubs, one of which is ‘home’ to the FutureEverything festival director Drew Hemment. Literally hundreds of organisations are currently enrolled in AHRC-backed research projects, in areas ranging from heritage archives to niche food producers, fashion SMEs to animation film makers. I can send more information about individual projects to anyone who wants to know more, but what is really good is that there are some recurring themes and individuals in these early stages of evidence-gathering that will help as I establish my research questions for the next phase.

I’ll need a few days at home to really think about what these are going to be, but with the Bradford Film Festival underway this week, that’s not quite happened yet!